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Coming to prominence in his native Germany in the 1970s, photographer Thomas Struth captured the atmospheric power of the contemporary urban landscape in his early black-and-white works. With an intent gaze and exacting lens, Struth expanded his range to include colour portraits, bringing a unique psychological precision to the tradition of portraiture. Perhaps Struth's best-known works are his majestic, large-scaled museum photographs depicting visitors to some of the world's great museums and buildings, including The Art Institute of Chicago, the Musee du Louvre in Paris, the Accademia in Venice, and the Pantheon in Rome. These captivating photographs not only transport us to the place depicted, they also provide a chance to re-examine our own selves looking at art. Continuing his interest in series, Struth has created expansive works based on the natural world, often training his camera on a particular contemporary melding of nature with technology and architecture. This volume presents an exploration of the photographs of Thomas Struth and accompanies a major retrospective exhibition organized by the Dallas Museum of Art. It features essays by well-known photography and art experts who chronicle Struth's career and situate his work in the context of the history of photography and its rise in contemporary art.
- Sales Rank: #1437343 in Books
- Published on: 2002-05
- Original language: German
- Number of items: 1
- Dimensions: 1.06" h x 12.72" w x 11.96" l,
- Binding: Hardcover
- 164 pages
From Library Journal
German photographer Thomas Struth's star is on the rise in this country, with this impressive and comprehensive exhibition of almost 100 photographs now touring several museums. His command of his medium is evident from the first plate of this eponymous catalog, where a derelict Manhattan cityscape from early in his career displays the complicated minimalism that marks much of his work. The numerous later large-scale landscape views encourage the viewer to feel uncannily present before vistas both close-range and distant. The shrewd omission of captions (a list of plates is at the back) removes any distracting contexts from such strongly contrasting spaces as an emphatically vertical close-up of a Japanese forest reserve and an artificial Las Vegas palm oasis. Struth's ambitious photographic project is also evident in his compellingly intense portraits of large families, where the sitters are seen frontally and in situ in their living rooms or gardens. As in his photos of apparently ordinary buildings, superficial impassivity masks a deeper mystery verging on the sublime. As the most complete survey of Struth's work now available, this can be highly recommended for all larger collections.
Douglas F. Smith, Oakland P.L., CA
Copyright 2002 Reed Business Information, Inc.
Review
"Well-produced. . . . The most complete representation of the artist's work to date. . . . This elegant compendium is well worth getting." -- Mary Ann Lynch, View Camera
From the Publisher
The exhibition will debut at the Dallas Museum of Art from May 12 through August 18, 2002. The show then travels to the Museum of Contemporary Art, Los Angeles (September 15, 2002 to January 5, 2003); The Metropolitan Museum of Art, New York (February 4 to May 3, 2003); and the Museum of Contemporary Art, Chicago (June to September, 2003). Distributed for the Dallas Museum of Art.
Most helpful customer reviews
1 of 1 people found the following review helpful.
Not the best layout.
By Abysis212
Having really enjoyed the "Paradise" series I had previously seen from Stuth I sought this book out. Personally, while I think he is a great photographer, I think this book fails to really organize and present his work in a coherent way. Black and white photos from his early work are mixed in with newer color work. There is no consistent size to the way the photos are presented. Some take up the full page and other are printed very small. One photo, which is printed 75 inches wide in real life according to the index, here is represented as only 5-6 inches wide even though the book is somewhere around 13 inches wide and the editors could have printed it much larger. To me I would like one single size for all the images with a decent but not overly large white border for each, no double page spreads, and the images to be divided into series that show coherent bodies of work and his progression as a photographer. Instead of "Thomas Struth: 1977 - 2002" this book would be more aptly titled "Thomas Struth: a hodge podge." 3.5 stars.
3 of 6 people found the following review helpful.
a great review of his work
By N. Bonnier
I really enjoy this book. It gives you a global point of view on the author resume.
the selection is excellent, and the print too.
If you love his work, you'll love this book.
thanks Thomas!
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